K Auction, the top art auction house of Korea, is honored to announce the New York preview of its October sale. It is the first preview event held by Korean art auction house: showcasing key masters of Korean abstract art. October sale of K Auction will be held at 5pm, October 18th, 2017, in Seoul, Korea. Highlights from the auction will be travelling to New York, Busan, and Daegu before returning to the main auction house at Seoul, Korea. Along with Kim WhanKi, Lee UFan, Chung SangHwa, Park SeoBo, and Ha ChongHyun, those who have triggered the Monochrome (‘Dansaekwha’ in Korean) movements, other masters of abstract arts including Nam Kwan, Ryu KyungChai, Lee GangSo, Kim YongIk, Ahn YoungIl will be available on New York preview. While mainly rooted in Korean spiritual context, the artworks have become the cornerstone of international art scene with theirs unique methods among the global universality embracing western minimalism. The exquisite mix of western abstract techniques with Asian spirits in these abstract artworks, on the other hand, helps the Korea abstract art to have certain position in international art history. K Auction is pleased to have this exceptional opportunity for showcasing the masters and emerging artists and for helping the international collectors to meet them. It is time to look into the Korean art.
『Korean Art Evening』 during the Preview Period
K Auction will host the <Korean Art Evening>, in association with EnoB, the largest Korean charity organization in the USA, at 6PM on September 26th (Tuesday). The event will be held with the October Sale Preview; salon concert of Kim So Hyang, renowned musical actress of Korea; and docent course by K Auction art specialists. Funds raised through this event will be donated to the EnoB Culture Sharing and Concert for both USA and Korea.

For more specific information about the event please see the attached file. And any questions regarding the auction preview, contact us at info@k-auction.com / +82 2 3479 8804.

SPECIAL SCREENING / Jonas Mekas' film Ar buvo karas? Was There a War?
FRIDAY, SEPTEMBER 29, 6.30 PM
Film duration 2hr 28 min., documentary, 2002. Film is in lithuanian language

Sla307 is pleased to present Jonas Mekas' New York premiere “Ar buvo karas?” “Was There a War?“
Mekas' legendary Bolex camera captures the intertwined fate of Lithuanian emigrants who fled from the Soviet violence after World War II. The documentary follows the lives subsequently following the subjects displacement from Lithuania to German displaced persons camps and finally to the United States and Canada. The filmmaker recorded their lives capturing the spectrum of daily routines to holiday celebrations during 1950-1955. Many of the subjects found themselves in New York and Boston Philadelphia and became prominent politicians and actors in culture and art. Anxiety looms throughout the duration of the film; the uncertainty and instability of carving out a space in American society is conveyed by both the subjects as well as Jonas Mekas. Even more signifiant is the display of human experience after the fall of the three pillars of Western civilization: religion, culture and philosophy. An individual is forced to face himself/herself in an attempt to find real, authentic life.

Jonas Mekas (born December 24,1922) is a Lithuanian American filmmaker, poet and artist who has often been called ”the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals worldwide. For more information about Jonas Mekas please click here

The exhibition is an investigation into the observed self, the portrayal of individuals as well as the perceived and projected self, and how we interpret/project imagery as portrait. Works include visualizations that cross cultures, genders, conformity and identity.

Frederieke Taylor Gallery is pleased to present a solo exhibition of Taiwanese artist Long-Bin Chen on view at the Elga Wimmer Gallery located in Chelsea at 526 W 26th Street #310.

Known for using books of every kind; phone books, catalogs, newspapers, and magazines, Long-Bin Chen creates complex, beautifully detailed sculptures of Buddha heads, Western icons such as Beethoven and Freud, human faces, warriors and animals. These creations, at first glance, resemble stone or marble. Long-Bin also creates installations of life-scale hanging figures, as well as larger-than-life heads one can walk into, made up of approximately one thousand phone books. All his sculptures and installations are made of recycled materials because the reuse of old material is an important aspect of his work.

For this exhibition, the artist has created a large scale hanging installation composed of several hundreds of books. An emotionally torn figure floats in the air followed by a trail of literary works, books and papers. This overload of information, flowing from the sculpture, represents the artist 's critique of our consumerist “paper society”.

Using traditional sculpting techniques, Long-Bin challenges both the cultures of his homeland and his American home to create an art based both on a reverence for the literary culture and an appreciation of contemporary sculpture. Long-Bin Chen explores different cultural meanings seeking to combine ideas and concepts from the East with those from the West and expresses what he considers a cultural conflict and problem with communication in the world.

Born in Taipei, Taiwan in 1964, Long-Bin Chen currently lives and works in New York and has exhibited widely, in the United States, Germany, Taiwan, Japan and Hong Kong. He has participated in several exhibitions at the Frederieke Taylor gallery and his work was featured at the Museum of Arts and Design in New York. Long-Bin was an artist-in-residence at MassMOCA. His work was included in the Holland Paper Biennal, and has been shown around the world in locations including the Taipei Cultural Center and the Fuller Craft Museum in Brockton, MA , and was included in the group exhibition “The Missing Piece” organized by the Dalai Lama Foundation. Most recently, his work was featured at the Everhart Museum in Scranton, PA, in an exhibition titled “Between The Covers: Altered Books In Contemporary Art”. Catalogues to this exhibition are available from the gallery.

First Street Gallery is pleased to announce a solo exhibition of recent work by Tracy Collamore. Entitled A Doll’s House, the exhibition will run from September 5th to 30th 2017, with an opening reception for the artist on Thursday, September 7th from 6 to 8 pm.

In her previous exhibitions, Tracy Collamore has shown highly colored, brightly lit paintings of suburban life that leave a darker after-effect upon the viewer, implying the existence of an ominous dimension beyond the physicality of the objects and their settings. In this, her third solo exhibition at First Street Gallery, Collamore concentrates on paintings of a doll’s house that has been residing in her studio over the past two years. Ranging in size from 8 x 10 inches to 3 x 5 feet, the paintings are a series of vignettes, which capture the miniaturized preciousness of the dollhouse, its contents, and its inhabitants.

Collamore draws on the familiarity of the everyday objects she paints and creates an authentic visual reality of the doll’s house that identifies with genre scenes of suburban modernity. And yet, the images provoke the existence of an alternate, psychological reality beyond their immediate impression. By using the visual familiarity of a doll’s house, Collamore exposes the implications of our societal structure, the confinements of domesticity and gender roles, and the iconography of childhood conditioning. These images are subtly terrifying as they gently expose the underbelly of our modern society’s expectations.

Tracy Collamore has a B.A. in Studio Art from Moravian College and an M.F.A. in Painting from Western Connecticut State University, where she studied with resident faculty including Margaret Grimes and Marjorie Portnow, and visiting faculty including Susanna Coffey, Judy Glantzman, and Ruth Miller. Collamore has exhibited her work extensively in solo, invitational, and juried exhibitions regionally and in New York City. She is an Associate Faculty of Art at Post University and serves as President to the Board of Directors at First Street Gallery.

September 5 - September 30, 2017.
Thursday, September 7, 6-8PM. Opening Reception and a book signing of Ann Zinman Leventhal's new novel, “Among the Survivors“.
Thursday September 28, 6-8PM A night of portraiture. All are invited to draw or be drawn!

Chelsea NY: Viridian Artists is pleased to present ”Selfies & Self-Portraits: 21st C Artists See Themselves“, which extends from September 5 through September 30 2017. The opening reception will be on Thursday, September 7, 6-8PM with a book signing by Ann Z Leventhal.
Artists have been creating self-portraits since the beginning of time, but now with cell phone cameras, the selfie has become the ubiquitous portrayal of self. The selfie has become today's self-portrait, but does it go beyond being just a likeness of the self which the artist has created or is it self-indulgence?
What is a self-portrait? What meanings does it encompass? How honest is reality or an artists' interpretation, even with a media so direct as the iPhone? Couldn't it just be the moment and an arbitrary decision to snap the shutter or be based on the composition of shapes in the image? Is it photography in the same way as our trusty old 35mm cameras performed? Is it more truthful than a brush and paint with a mirror nearby? What is art? What is reality?
Viridian has invited guest artists, as well as its usual entourage, to create and show images they feel represent themselves. Artists were invited to send us a ”selfie", aka 21st C self-portrait and to create their selfie in the form of an art object in any media they desire. All the while, thinking about who they are/ what inspires & what motivates them. Or just to do an old-fashioned self-portrait!
Some are outrageous, some political, some as classical as Durer, Rembrandt, but with a twist. Today's self-portraiture because of a thousand reasons has become more diverse & more conceptual. How we see artists from the past may have to do more with their self-portrayals than documents in their archives. But how we see artists today via their self-image is a whole new conundrum.
On the last Thursday evening of the exhibit, September 28th, there will be an evening of portrait drawing. All interested are invited to bring their drawing pads & materials to create self- portraits or portraits of each other. Guests are invited to pose for portraits which can be traded or paid for at the rate of $1 a minute. Come between 6-8PM & participate or just observe. A good time is guaranteed for all! The exhibition continues until Saturday, September 30th.

We are excited to present a historical and cultural exhibition entitled: Tėvynė / Patria commemorating 130 years of American Lithuanian history unified under SLA, Susivienijimo Lietuvių Amerikoje. SLA is the acronym in Lithuanian for LAA, the Lithuanian Alliance of America. This exhibition will be on view from July 15 - September 30, 2017 with an opening reception on SATURDAY, July 15th from 4pm - 8pm. The exhibition will take place at the heart of SLA/LAA located at 307 W. 30th Street, New York, NY 10001.

SLA/LAA is the oldest American Lithuanian Organization still active today. The exhibition displays SLA/LAA’s unique and original artifacts and memorabilia, which contextualize the rich historical evolution of the organization from its inception in 1886. SLA/LAA germinated via Dr. Jonas Šliupas’s editorial: Lietuviškas balsas/Lithuanian Voice, where mutual ideas and concerns were shared and the concept of SLA/LAA was born. Eastern Europe’s turbulence in the late 19th and early 20th centuries displaced many Lithuanians from their homeland. This amplified the importance to safeguard language and culture, endow Lithuanian organizations to prosper, and advocate for an independent Lithuania. SLA/LAA became a significant conduit for preservation and political activism establishing chapters across the United States. As a cultural hub, the organization attracted notable Lithuanian activists such as Jonas Basanavicius, Žemaite, Martynas Yčas,. With as many as 350 chapters, the primary dissemination of information took form in the newspaper: Tėvynė.

Launched in 1896 Tėvynė was printed in SLA/LAA’s headquarters and was intended to keep American Lithuanian’s abreast of pertinent information related to Lithuanian culture, politics, economics etc. In more recent publications the use of both Lithuanian and English languages are present. Original copies of Tėvynė will be on display in addition to SLA/LAA insurance forms, member lists, medals, seals, accounting books, photos, correspondence between SLA/LAA members, albums, cultural pamphlets, original Tėvynė printing plates and a selection of books from SLA/LAA’s Collective Library. The library is rich with Lithuanian Literature, especially dating from 1901-1915, when Russian occupied Lithuania was banned from publishing in their native language. This provoked the SLA Collective Library to print their own Lithuanian literature and unify with other American-Lithuanians: the older generation of Idealists, Patriots and the Community to preserve the written language for future generations. As part of the exhibition you will have an an opportunity to see Jonas Mekas film Was There a War? - a closure of an everyday lives of Lithuanian immigrants in 1950-1953 America. NY premiere! The film is in Lithuanian language only.

Over the years SLA/LAA has reshaped itself according to its cultural needs. At one point it transformed from a fraternal coalition to an insurance company, fiscally aiding those in need and investing capital into Lithuanian cultural activities. The organization bought property, built churches, created Lithuanian schools, supported students, orphans and Lithuanian culture. In 2015, SLA/LAA created Sla307 Art Space as an art department, that organizes art exhibitions, literary events, concerts, lectures and film screenings.

Today, the building is more then an archive, it is a living organism of a very old culture and a vital component that makes up part of New York City’s culture and history. Next year, February 16, 2018, marks the 100th Anniversary of Lithuania’s Independence, a milestone for all Lithuanians and of SLA/LAA 130th anniversary, who was a seminal advocate for Lithuania’s independence and preservation.

For Gallery hours please visit: www.sla307.com
We hope to see you at the exhibition!

New York… Galerie Protégé and Arte Fuse contemporary art blog share a common goal of supporting emerging and established artists, so we decided to partner up through a juried open call to search for underappreciated talent that deserves more attention and exposure. We also invited an additional juror, Alison Pierz, who is an independent curator and previous gallery owner, to assist with the selection of artists for the show and to give them exposure to another curator. After carefully reviewing all the interesting submissions, we finally decided on 15 artists for the group show “Natural Selection” which will open at Galerie Protégé on September 7th from 6-8pm and will run until October 3rd, 2017. Additional to the group show, we selected one artist for an interview and studio visit with Arte Fuse about their work. The winner for the interview and studio visit is Jacob Hicks from NYC. Arte Fuse will also write an article about the group show “Natural Selection” to help promote the show, the artists and the work selected.

Galerie Protégé
Founded in September 2011, Galerie Protégé is an exhibition space located in the heart of New York City’s Chelsea gallery district reserved exclusively for emerging artists. Located on the lower level of Chelsea Frames, Galerie Protégé is dedicated to hosting exhibitions of contemporary art in a variety of media including painting, drawing, photography, installation, and performance-based work.

ARTE FUSE is a contemporary online art blog featuring news; openings; events; galleries; studio visits and art reviews. Our main focus is to examine current art shows to give our readers a curated perspective on the art scene with a special focus on New York. The blog was founded by Jamie Martinez, our Publisher, and CEO in 2008.

Alison Pierz is an independent art curator working in New York City. She has and MA in Art Market: Principles and Practices from the Fashion Institute of Technology and a BFA from Pratt Institute. She has worked for the past several years in fine art management and curation

AMSTERDAM WHITNEY GALLERY, 531 West 25th Street, Chelsea, New York City, located on the Ground Floor, is proud to showcase in its exhilarating AUGUST 29-OCTOBER 3, 2017 exhibition leading Contemporary Master Artists whose works explore the abstract, figurative and natural worlds, exalting the realm of the aesthetic through brilliant coloration and dazzling form. This specially curated exhibition and “Chelsea Roaring 1920’s ~ Great Gatsby” Gala Champagne Reception on Saturday, September 9th from 3:00-5:00 pm, located at our beautiful Ground Floor Gallery, inaugurates the Fall Opening of the Chelsea Fall Art Season and offers an exuberant visual synthesis of abstract, figurative, photographic, landscape and floral compositions which assiduously captures the senses of both art acquisitors and art aficionados alike with its scintillating regeneration of the visual realm. Pulsating with dynamic synergy and dazzling artistic creativity, these artists' sophisticated, eclectic and joyful representations of the world, shine the spotlight on a universal artistic language. Compelling, lively and emotive, the artworks resonate through the medium of our shared humanity by celebrating the human spirit and connecting with fundamental aspects of identity.

Cavin-Morris Gallery is pleased to present an exhibition of non-mainstream ceramics titled REBEL CLAY. This exhibition will be the first of its kind in the country.

Clay is a direct way for the artist to sing his or her ideas directly with no traditional references. The clay becomes language, a voice of individual intentionalities, a narrative device. The stylistic range is very wide, from the whimsical to the mysterious, from cultural resistance to spirit and conjure, from Art Brut to beyond mainstream.

Jim McDowell has made utilitarian ceramics in addition to pursuing a not so covert ceramic form that explores his ancestral memories and legacy. His spirit jugs refer to altars and the Kongo cemetery complex before becoming sacred memorial objects made by slaves and freed men in the US and Caribbean. He is the only African-American spirit jug maker in the United States.

Sylvia Katuszewski’s pieces are raw and expressionistic yet they have an interior tenderness with dream-like subjects. She uses her glazes and pigment like paint. Her early association with the Dadists suggests an inference of symbolist poetry in the dark perfume of her subjects and colors.

Nek Chand, who sculpted in cement that he molded like clay, needs little introduction. He is known for his huge environment in Chandigarh, India with its thousands of expressive figures and exquisite architecture.

Bessie Harvey was an artist who used her working knowledge of Conjure in her more well known wooden and root sculptures of spirits. We are fortunate to have a pair of small painted ceramic figures by her from the 1980’s that will expand our understanding of her artistic capacities.

Another artist known for his creation of a deeply personal world is the American Art Brut master, Eugene Von Bruenchenhein. There is a delicious delicacy to his paganesque vases fashioned from ceramic leaves. He dug his own clay and fired his pieces in the wood-burning stove that heated his small home. Along with the vases, we will exhibit one of his crowns, some of which were worn by his wife, Marie, in the evocative photo portraits he made of her.

The sculptures of Kevin Sampson, familiar to us from what we can see in the collections of the Newark Museum, Intuit, in Chicago, and the American Folk Art Museum, would have worked well in this exhibition. Instead we will exhibit some of the results of his recent residency at the John Michael Kohler Arts and Industry program. Sampson experimented with his themes of cultural resistance and ancestral remembrance in stark black and white porcelain.

The curators first encountered the work of four Japanese Art Brut artists when we visited the Yanomami Art Center near Shigaraki Prefecture in Japan. We were intrigued by the balance of whimsy and a feral pop demonic aesthetic of Kazumi Kamae, Yukio Miyashita and Masami Yamagiwa.

Burgess Dulaney found a way to fill time in a hardscrabble life farming subsistence crops, outside the realm of literacy and schooling. His work evokes images of proto-humans, and fantasy animals. They are timeless. They have become rare and we were fortunate to find three for this exhibition.

David Parsons is a new artist to be shown at Cavin-Morris Gallery. His work pulls essential souls from his animal subjects in a gestural, visceral way. The marks of his hands are everywhere in the work, even when covered by his forceful, colorful glazes. We have also included some of his abstract drawings. We are working with Creative Growth, from Oakland, CA, in the presentation of this artist.

We are introducing for the first time the ceramic fungi of Scottish artist Straiph Wilson. The artist says:
I'm interested the relationship between ritual and power creating religious objects from these ideas. My art practice attempts to go beyond or behind customary established dogma, to experience the intersection between science, religion and belief.

Chrissy Callas creates small, intimate pieces that are sensitive and emotional, their rough or glazed surfaces reflecting inner conflicts and resolution yet maintain a sense of mystery or isolation. She comments I use clay to exploit Man’s conflicts, frailty, muscle, and wit; Art imitating real life from chunks of clay. The work speaks for itself. You either get it, or you don’t.

Also included are some drawings by Melvin Edward Nelson. He used pigmented earth that he referred to as stardust, gathered from under the runners of UFOs that landed on his property in Oregon. He wetted a sheet of paper on a board, added the earth pigments and allowed the electromagnetic energies of the Earth to create what he said were depictions of the birth of planets. He called these drawings ‘Photo Genetics’.

Ricardo Estella and Peter Cordova are both from the Phillipines. Both make their work at Creativity Explored in San Francisco. There is a strong roots feeling to their work as they give us very different imagery, from the mundane to the supernatural richness of their American and Filipino roots.

Finally we have included several old masks from Nepal modeled out of cow dung and used like clay. They are then dried and covered with a smoke patina. There is very little research done on these most basic of masks and we are glad to have four for this exhibition.

For further information please contact info@cavinmorris.com or call 212-226-3768.

Printed Matter is pleased to present Letters Are T.H.I.N.G.S., a group show featuring works by Moonsick Gang, Sharon Gong, Hardworking Goodlooking, Nontsikelelo Mutiti & Tinashe Mushakavanhu and Nate Pyper, addressing notions of decoloniality in typography/graphic design via publishing. Presented in the Project Room, the exhibition is organized with designer and publisher Gerardo Madera and is initiated by the artist’s forthcoming book Name, Thing, Thing: A Primer in Parallel Typographies, published by Printed Matter (September, 2017).

Letters Are T.H.I.N.G.S. instantiates several threads of Name, Thing, Thing into an exhibition setting, putting varied perspectives on display in an effort to expand, or perhaps refine, a definition of decoloniality as it pertains to typography/graphic design. Through artists’ books, zines, posters, objects, video and web-based works, the participating artists consider narratives in typographic discourse through decoloniality—not least, language, social/local issues, representation, history, subversion, speculation, hybridity, etc.—from the vantage point of marginalized groups/publics. With a specific focus on publishing, the exhibition hopes to show how circulation, dissemination and the establishment of networks—vis-à-vis publishing, typography and graphic design—can be pivotal in dismantling forms of oppression.

The exhibition borrows its title—Letters Are T.H.I.N.G.S.—from late designer Nic Hughes, who’s interest in OOO (Object Oriented Ontology) propelled a series of self-initiated projects and essays around, what Hughes dubs as, “Ontological design”—an understanding of the networks design objects inaugurate and inhabit. In its display, the exhibition calls for a discursive understanding of these connections. Not to present these convergences as absolute, but to, as Anne Bush puts it, see them as one of countless configurations—a “search for theories of attribution, articulation and designation” within defined networks.

Christian Marclay
Phones
SEPTEMBER 7 – OCTOBER 7, 2017
OPENING RECEPTION, SEPTEMBER 7, 6:00 – 8:00PM
521 W 21ST STREET
NEW YORK – Paula Cooper Gallery is pleased to present an exhibition of early works by Christian Marclay opening September 7th at 521 West 21st Street. On view are two sculptures and a video created by the artist in the 1990s, as well as a selection of photographs and works on paper, exploring the recurrence of telephonic technologies as visual and acoustic material in Marclay’s work. The exhibition will be on view through October 7th. There will be an opening reception on September 7th from 6 to 8pm.

For more than three decades, Christian Marclay has explored the connections between the visual and the audible, creating works in which these two distinct sensorial experiences enrich and challenge each other. Working across a diverse range of media including sculpture, video, photography, collage, and performance, Marclay deconstructs the ubiquity of sound to extrapolate its perceptual limits and examine the increasing prevalence of sonic mediation through technology such as digital recording, mass reproduction, and telecommunication. His installations often employ appropriated objects that merge or reconfigure auditory and visual elements to challenge our ontological understanding of them.

On view is a selection of Marclay’s works that examine the telephone – a recurring subject in his practice, often appearing as a mute or inadequate object. In the gallery’s main room is Marclay’s large-scale installation entitled Boneyard, created in 1990 and comprised of seven hundred and fifty hydrostone casts of telephone receivers, their white osseous corpus scattered across the floor. Relics of an earlier era, the discarded remains suggest the loss implicit in this mediated form of communication.

On view in the gallery’s second room, Marclay’s work from 1994, Extended Phone II, swirls throughout the space, its massive volume of black plastic tube elongating the length between the receiver and transmitter of a telephone handset. As the work circumvolves into a hypertrophied and ineffective device, the extended phone further complicates the telephonic distinction between sign and referent, speaker and listener.

Telephones (1995) is Marclay’s seven minute video composed of clips taken from classic Hollywood films in which its actors are seen using a telephone. The narrative builds from a sequence of repetitive cuts showing dials, then salutations, and abbreviated conversations, before a series of unresolved or unsettled goodbyes. As the artist noted in a 1997 interview: “Absence is a void to be filled with one’s own stories …. Silence is the negative space that defines sound.” In Telephones, the viewer is left with an obscured narrative that invites reflection on linguistic communication as altered, unstable, or insufficient, and in particular when filtered and abstracted through the telephone.

Christian Marclay (born 1955 in San Rafael, CA) studied at the Ecole Supérieure d’Art Visuel in Geneva from 1977–1980, at the Massachusetts College of Art in Boston from 1977–1980, and as a visiting scholar at Cooper Union in New York in 1978. Marclay’s work has been shown in museums and galleries internationally. He has had important one-person presentations at the Kunsthaus, Zurich (1997), the Museum of Contemporary Art, Chicago (2001), the San Francisco Museum of Modern Art (2002), Whitney Museum of American Art, New York (2010), the Garage Center for Contemporary Culture, Moscow (2011), Aargauer Kunsthaus, Aarau (2015), and Sapporo Art Museum, Sapporo (2017). Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his 24-hour virtuosic video piece, The Clock, which was first shown at White Cube in London in 2010. Since then, The Clock has been exhibited at a number of institutions worldwide including Paula Cooper Gallery (2011), the Museum of Modern Art, New York (2012), San Francisco Museum of Modern Art (2013), Guggenheim Bilbao (2014), Centre Pompido-Metz (2014), SALT Beyoğlu, Istanbul (2014), Museum Berardo, Lisbon (2015), and at the Contemporary Arts Center, presented by Prospect New Orleans (2016).

For more information, please contact the gallery: (212) 255-1105 or info@paulacoopergallery.com

NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce paintingpainting, an exhibition of recent works by Franklin Evans. The exhibition will open 7 September and remain on view through 7 October 2017. A public reception for the artist will be held on 7 September from 6:00 to 8:00 PM.
“For the past ten years I have engaged with many elements of the artist’s studio—painting, drawing, materials, color systems, process trials, process notes, logistics, accounting, order, chaos, books, and art history’s visual records—and have made the studio in the round the subject of my paintings. I have typically presented the paintings in the context of installations of the exposed studio, nakedly incorporating various provisional studio processes and presenting a self-reflexive position that merges life and studio life.
“With paintingpainting, my second solo exhibition at Ameringer | McEnery | Yohe, in order to see my paintings qua paintings, I have extracted the work from the contextual world of the studio in which it was made, upending the form in which I have presented past paintings. Like my installations, these paintings are full of an overwhelming mass of visual information, swallowed from my studio.
“The tightly packed compositions simultaneously employ
linear, grid, and concentric structures to amplify the complexity and to oscillate and destabilize the viewing position. The paintings frequently employ painted details of other paintings, from the modernist canon (Matisse, Cézanne, Picabia, Picasso, and Braque, among others) to less canonical and contemporary figures (including Alma Thomas, Dana Schutz, Alex Katz, Jane Freilicher, Mimi Gross, and my own past paintings). The compression of painting’s history within each work and my use of non-stable compositional structures mirror my own firmly unstable position. I paint with an irrational and constantly expanding love of painting while simultaneously accepting the impossibility of resolutely holding a position unchanged.” —Franklin Evans

NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce an exhibition of works by Robert Cottingham. The exhibition will open 7 September and remain on view through 7 October 2017. A public reception will be held on 7 September from 6:00 to 8:00 PM.
Born in Brooklyn, NY in 1935, Robert Cottingham is best known for his paintings and prints of the urban American landscape, which often feature cropped views of neon signs, marquees, building façades, and shop fronts. Though he is considered one of the most prominent Photorealists of the latter half of the twentieth century, he also sees himself as a realist painter continuing in the tradition of American vernacular scenes.
After serving as a mapmaker for the U.S. Army from 1955 to 1958, Cottingham earned a BFA from Pratt Institute in 1963 and began his professional artistic career as an art director for the advertising firm
Young and Rubicam. Cottingham was soon transferred to Los Angeles, where he was inspired by the kitsch and exaggerated glitz of his new environment. In 1968, he ended his advertising career in order to commit fully to painting, and made his New York debut at O.K. Harris
Gallery in 1970. Cottingham then left Los Angeles for London—he and his wife, Jane, bought a house in Fulham, where they lived with their daughters until 1976. Viewing himself as “an artist painting American scenes,” he rejected the foreign imagery of the city and made yearly photography trips to the U.S. A grant from the National Endowment for the Arts in 1974-75 allowed him to tour the country via Greyhound bus and take thousands of photos of American cities. Cottingham continues to paint from the images that he captured on these long ago road trips.
Though photographs serve as an initial reference point, Cottingham is not beholden to the original image, and often changes the words to alter the meaning of the subject. He works simultaneously on different series and in various media, generating an array of paintings, drawings, and prints from a single image. This exhibition features both recent and earlier works on paper by the artist that depict close views of commercial signage. These fragmented glimpses of the urban landscape have a surreal and enigmatic quality, and highlight Cottingham’s mastery of line, light, and shadow.
Cottingham’s work has been included in significant group exhibitions at Documenta, Kassel, West Germany (1972); Serpentine Gallery, London, England (1973); Centre national d’art contemporain, Paris, France (1974); Whitney Museum of American Art, New York, NY (1978); a traveling exhibition at the National Museum of American Art, Washington, D.C. (1986); Samsung Museum of Modern Art, Seoul, Korea (2001); and Deutsche Guggenheim, Berlin, Germany (2009). The artist’s printed oeuvre was the subject of a solo exhibition at the National Museum of American Art, Washington, D.C. in 1998-99, and a major retrospective of his work was held at the Butler Institute of Art, Youngstown, OH in 2016. Cottingham’s work is currently featured in From Lens to Eye to Hand: Photorealism 1969 to Today at the Parrish Art Museum, Water Mill, NY.
His work is in many permanent collections including the Art Institute of Chicago, Chicago, IL; Solomon R. Guggenheim Museum, New York, NY; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; Philadelphia Museum of Art, Philadelphia, PA; Smithsonian American Art Museum, Washington, D.C.; Tate Gallery, London, England; and Whitney Museum of American Art, New York, NY; among others.
Cottingham lives and works in Newtown, CT.

NEW YORK, NEW YORK, AUGUST 3, 2017 – Berry Campbell is pleased to announce an exhibition of paintings by YVONNE THOMAS (1913-2009). The gallery will present nineteen paintings from 1950-1962. Berry Campbell is now representing the Estate of Yvonne Thomas. The exhibition opens on September 7, 2017 and runs through October 7, 2017, with an opening reception on Thursday, September 7 from 6 to 8 pm.

Throughout a career lasting over fifty years, Yvonne Thomas blended the intuitive freedom of Abstract Expressionism with the symbolic language of form and color. As she stated: “Variations on these two movements have continued and merged into a sense of adventure and invention.” For Thomas color was the “strongest joy and enigma,” and she used an expressive range of pigments in works that progressed logically in series, often conveying her emotional responses to the spirit of nature. Dedicated with serious focus to art from the late 1930s until her death at age 95, Thomas was one of few women to be part of the first-generation of Abstract Expressionists. A member of the intimate inner circle of artists who were at the heart of the movement, she attended the historic Subjects of the Artist School (1948–49) and was invited to join the exclusive Artist’s Club (known as “The Club”). She exhibited in prominent galleries of the day—including Stable, Tanager, and Betty Parsons—and was represented in all five of the New York Paintings and Sculpture Annuals (held in a temporary gallery on New York’s 9th Street) as well as the seminal 9th Street Show of 1951. A distinctive aspect of Thomas’s identity is that she spent her first twelve years in her native France and always felt a connection with the art and culture of Europe. This background gave her a special closeness with the other émigré artists of the time—Willem de Kooning and Marcel Duchamp were among her close friends—but she always considered herself American and saw her work as a manifestation of the place where she lived and worked.

Like other women associated with Abstract Expressionism, Thomas’s art didn’t receive as much exposure as that of her male counterparts. It is only recently that the movement’s women are being recognized, in exhibitions such the 2016–17, Women of Abstract Expressionism, organized by the Denver Art Museum; Thomas’s work was featured in the show’s catalogue.

Born in 1913 in Nice, Thomas arrived in the United States in 1925. Her family settled first in Boston before moving to New York, where she studied briefly with Alpheus Cole at Cooper Union before the Great Depression struck. In order to support herself, she turned to commercial work in fashion illustration. In 1938, she left this successful career behind to devote herself to art, studying at the Art Students League with Vaclav Vytlacil, taking private lessons in portraiture with Russian painter Dmitri Romanovsky, and attending the Ozenfant School of Fine Art, named for the French originator of Purism. Through the Ozenfant School, she became increasingly drawn to contemporary art.

In 1948, she experienced a breakthrough, when she was introduced by Patricia Matta, the wife of the artist Roberto Matta, to the Subjects of the Artist School, founded by William Baziotes, David Hare, Mark Rothko, and Robert Motherwell. There, meeting in a loft at 23 East 8th Street without formally scheduled classes, students were considered “collaborators”; they worked alongside all four of the founders at once, investigating “the artistic process, its modern conditions, possibilities and extreme nature through discussions and expression.” At the School, Thomas “felt she had finally come home!” and it was in its context that she met de Kooning, Lee Krasner, Duchamp, Philip Guston, Clyfford Still, Ad Reinhardt, and Barnett Newman.

The school stressed the idea that subjective feelings are the only “subjects” for an artist to depict. Grounded by Motherwell in the principles of psychic automatism, deriving from the Surrealists, Thomas sought to paint in a free and fresh way, as if form and color were autonomously materializing from her brush. Thomas later recalled that she “changed from academic discipline to pure Abstract Expressionism. . . The work is authentically of the time. Its spontaneity is close to my temperament. There is no influence of other artist’s imagery, except for intellectual and philosophical ideas.”

The concepts taught in the Subjects of the Artist School resonated further for Thomas in the summer of 1950, when she studied in Provincetown, Massachusetts with Hans Hofmann, who gave her “the courage of color.” As noted by art historian Robert Hobbs, Hofmann’s “painting sessions were particularly rewarding for Thomas who was alerted to the emotive potentialities of color, the need to work contrapuntally in terms of positive as well as negative spaces, and the significance of taking the overall dimensions of a given canvas into consideration as key compositional elements.” The palette she developed in the early 1950s stemmed from her first memories, when she recalls being rocked in a cradle beneath “the cloud-yellow Mimosas, orange trees, and a pale green Eucalyptus in her grandmother’s Provencal garden.” These colors exude from works such as Summer Day and Summer Day II (both 1952) in which Cubist structural elements, the legacy of the art of Ozenfant, still linger. By 1954, Thomas was using a freer, more gestural handling in paintings such as Transcendence (1954), in which pale yellows and spiritualized silver grays seem at once those of diffused sunlight and the glows from halos in Renaissance paintings.

When Thomas exhibited her work in a group show in 1954 at Tanager Gallery (an artist’s cooperative), Stuart Preston noted in the New York Times that she, along with Miriam Schapiro, were “both talented and comparatively unknown.” He described Thomas’s paintings as “non-specific emotional moods in a language of restless brushwork and fitful color.” Dore Ashton wrote: “Yvonne Thomas . . . conveys a landscape feeling in her oils. She paints in an extremely low keyed palette—cool yellow, slate blue, earth pink—and holds her forms in closely related surface planes. Hers is a delicate, very subtle intonation, adjusted to atmospheric rather than energetic force in nature.” Greater tension is present in Thomas’s paintings of 1955–56, in which she appears to have given the canvas center gravitational properties, resulting in tense arrangements of shapes that collide or strive for steadiness and wholeness. When Thomas was included in an eleven-artist show at the Riverside Museum in 1955 (with Milton Avery, Franz Kline, and Kenzo Okada), Howard Devree took notice of her “vigorous loose color arrangements.”

Thomas had a one-artist show in 1954 at Hendler Gallery in Philadelphia; her first New York solo exhibition occurred two years later at Tanager. In her review, Ashton stated that the “paintings are executed in a summary style, in which clear colors are applied in sweeping thin washes,” while noting that Thomas’s most “recent canvases are genuinely fresh insights.” In a series from 1956, Thomas dispensed with thin paint, giving the picture plane solidity with more densely painted architectonic forms locked in puzzle-like configurations, as in Highway II (1957), whose sage green, grays, and ultramarine blues are suggestive of the heaviness of the approach of dusk. A lighter mood is present in Thomas’s paintings of 1959 such as Wind and Tree Tops, their titles conveying her strong connection with nature. At the end of the decade, bright yellows are more apparent in her art. She called yellow her “favorite and obsessive color” and noted it was one she used when she felt the need to switch gears. In Lanzarote (1959), named for a Spanish island that Thomas visited, an anxious scrawl of black marks is juxtaposed with the warmth of a yellow orb, whose strength is conveyed by the way it presses against a tight enclosure. When a show of Thomas’s work was held at Esther Stuttman Gallery, New York, in 1960, Donald Judd reviewed it for Arts Magazine, writing, “Wide brush strokes and sweeps of color glissade to the plane of the bare canvas. The paint and canvas are identified with one another and continued into each other, and the consequent speed and thinness of the surface engender the clarity and singleness of the poetry.”

Beginning in the 1960s, when Pop Art gained dominance, abstraction received less attention. Nonetheless, Thomas steadfastly pursued dimensions of abstract painting in the decades that followed, changing the variables of her work when she achieved a particularly expressive result. She also continued to exhibit often, in both solo and group exhibitions. Individual shows of her art were held in 1968 at the University of Colorado, Boulder; in 1973 at Louisiana State University, Baton Rouge; in 1982 at the Aspen Institute for Humanistic Studies, Queenstown, Maryland; in 1984 at the Washington Art Association, Connecticut; in 1985 at the Maison Française of Columbia University, New York; and at various galleries from the 1980s through the early 2000s. Many of her paintings belong to prominent public collections, including the National Gallery of Art, Washington, D.C.; the Guggenheim Museum, New York; Atlantic Richfield, Los Angeles; and New York University, Loeb Center and Foundation for Art and Preservation in Embassies.

Lisa N. Peters, Ph.D.

BERRY CAMPBELL GALLERY continues to fill an important gap in the downtown art world, showcasing the work of prominent and mid-career artists. The owners, Christine Berry and Martha Campbell, share a curatorial vision of bringing new attention to the works of a selection of postwar and contemporary artists and revealing how these artists have advanced ideas and lessons in powerful and new directions. Other artists and estates represented by the gallery are Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Dan Christensen, Eric Dever, Perle Fine, Judith Godwin, Balcomb Greene, Gertrude Greene, John Goodyear, Ken Greenleaf, Raymond Hendler, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Mike Solomon, Syd Solomon, Albert Stadler, Yvonne Thomas, Susan Vecsey, James Walsh, Joyce Weinstein, and Larry Zox.

Berry Campbell Gallery is located in the heart of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011. For information, please contact Christine Berry or Martha Campbell at 212.924.2178 or info@berrycampbell.com.

Pace Gallery is pleased to present Maya Lin: Ebb and Flow featuring 9 new installations and sculptures that continue the artist’s ongoing investigation of water in its different states. The exhibition includes wall and floor pieces made from recycled silver, glass marbles, steel pins, and marble. Lin’s fourth exhibition with Pace since she joined the gallery in 2008, Ebb and Flow is on view at 537 West 24th Street from September 8 through October 7, 2017. An opening reception for the artist will be held on Thursday, September 7th from 6 to 8 p.m.

Massey Lyuben Gallery is proud to present O, the second solo exhibition of paintings by Eric Helvie.

Helvie’s newest paintings capture loading Instagram images initially taken as screen captures from the artist's personal feed and then painstakingly rendered in oils. The seven new works seamlessly move between abstraction and photorealism, presenting a foggy and filtered reality where all subjects are equally obscured. These purposefully unclear compositions, still “loading”, present a peaceful limbo. The image will never become clear and we are left contemplating an indistinct, albeit richly painted middle ground.

The result is a body of work that simultaneously elicits tension and reflection. In contrast to the immediacy of social media and the digital age, Helvie’s paintings offer an inherent slowness: in order to really see the image, they demand patience, submission and meditative appreciation. By isolating the image from its context, captions, and comments, the artist removes any narration and offers viewers the pure essence of the image. Choosing to only present the “loading” circle centered and floating in a cloudy square, Helvie nods towards a timelessness outside of our specific reality.

Born in Portland, Oregon and raised in South Africa, Eric Helvie lives and works in NYC. His work has been reviewed in ArtFuse, The Creators Project, and featured on PBS and in The Daily Beast. His paintings are included in numerous private collections.

Please join us for an opening reception on Thursday, September 7th from 6-8pm. For work availability and press inquiries, please email info@masseylyuben.com

For her first solo exhibition at Sundaram Tagore New York, American artist Olivia Munroe presents new paintings and works on paper that expand on two previous series within her four-decade career—her collage paintings and Histories series.

Munroe, who is formally trained as a printmaker, creates sublime paintings with imagery inspired by archetypal forms of the circle and the square. Employing tools and processes from her printmaking days and using everyday materials of enduring cultural significance—wax, paper, cloth, graphite and dye—Munroe’s abstract compositions are formed through a unique and intensive process of layering pigment and wax-infused linen and string in elemental geometric formations which are mounted on cloth or panel and often burnished to create a palimpsest-like, tactile surface. These works can be called “collage paintings” to capture the constructed nature of their form.

Munroe began developing her collage painting techniques in 2004. Experimenting with both materials and process, the current work builds on her original series using wax and cloth to create bas-relief paintings. As with earlier works, the artist’s central imagery remains the circle and the square. Munroe’s concentrated focus on, and experimentation with, these forms, is rooted in her studies of sacred geometry, which takes the circle and the square as the basic forms and symbols of humanity’s representation of the universe.

In a departure from previous iterations of her collages, which often incorporated more complex configurations rendered in vibrant color schemes, the artist has refined the compositions of these new works, distilling her subject matter to its simplest form. Munroe’s consciously minimalist methodology gives each visual element significance and weight. With her methodical, almost architectural approach to creating dimension by building out her surface with layers of woven stratum, Munroe creates engaging spatial environments that play with light and shadow, compelling the viewer to examine the work up close and from multiple angles.

Munroe’s carefully selected color scheme, a subtle palette of soft whites, grays, blues and gold tone, likewise allows for the texture and the subtle shifts in tone within the layers of cloth to become a focal point, again emphasizing depth and dimensionality. In the artist’s hands, the circle and square, these simple rudiments of geometry, are transformed into a rich, visual experience that evokes ideas of tranquility, purity, memory and transcendence.

Also on view will be a selection of works on paper from Munroe’s Histories series, began in 2013, which offer a different aesthetic from her collage paintings. These intimate calligraphic paintings on paper reference the practice of writing from across time and culture, from Egyptian hieroglyphics to East Asian calligraphy, and from French medieval to Persian illuminated manuscripts. These works are made on a cache of 19th-century paper from France that has long been in her collection; when this delicate, handmade cotton paper runs out, the Histories series will end. Munroe continues her use of geometric archetypes as primary subject matter for many of the works. Here they function as a nonliteral rendering of ancient iconography and written forms articulated in a radiant spectrum of color, which is built up with many layers of brilliant hues of yellow, pink, red, orange, purple, blue and green. Histories are a timeless evocation of the age-old practice of writing as both an expressive and divine form of art.

ABOUT THE ARTIST

Olivia Munroe was born in 1953 in New York City, and along with her three sisters, was immersed in art from an early age. Her mother, Enid Munroe, is a painter and the family traveled extensively while she was growing up, spending summers in Italy, Southern France, and Greece to absorb the region’s art, architecture, and cultural history. When she was a teenager, her family moved to Japan, where she was exposed to Eastern art and thought. Her observations—the use of iconography as subject matter, woven textiles as media, and alternative formats of presentation, such as hanging scrolls—were and still are an inspirational force behind her practice.

When she returned to the States, Munroe studied printmaking at the Rhode Island School of Design. After graduating with a BFA, she moved to New York City to continue her printmaking, attending classes at the Art Student’s League and spending two years refining her practice at the Printmaking Workshop, an influential nonprofit art space founded by foremost American art lithographer Robert Blackburn. While she experimented with different techniques, Munroe ultimately gravitated toward intaglio printing, in which the pigment that forms the image is printed only from recessed areas of the etched metal plate. This intensely process-driven approach, with each step building on the proceeding one, still informs her practice today.

Munroe has exhibited her work extensively and her award-winning etchings published by John Szoke Graphics are included in prestigious collections, including the Metropolitan Museum of Art, New York, and the Smithsonian Archives of American Art, Washington, D.C. She lives and works in Bridgeport, Connecticut. This is Munroe’s first exhibition at Sundaram Tagore Gallery.

Opening the Fall season on September 7, 2017, Joshua Liner Gallery is pleased to announce the gallery’s latest gallery-curated exhibition. When We Were Young is a collection of artists using their practice to explore issues related to memories, nostalgia, and the passage of time. With its creation of memories and nostalgia, the past is something unique, but with which we all share. For better or for worse, we are shaped and formed by its very existence. Recognizing that we are all products of the past, the work in When We Were Young commends the lasting power that memories hold. Separating the work into three main categories of places, people, and things, the artists collectively remind us that despite our best efforts, time continues to move forward.

Just as our memories of people, places carry a similar lifelong presence. We often miss places as much as we miss people; they become a part of who we are. Artists Duane Michals, William Steiger, and Evan Hecox focus their work on the power of places. American photographer Duane Michals was born in 1932. Viewing himself as a self-taught photographer, Michals honed his skills as a commercial photographer in New York City, eventually using his practice to capture the city and its people, from Andy Warhol to the everyday New Yorker. For When We Were Young, the gallery highlights four original photographs from a series of 30 black-and-white prints entitled “Empty New York.” All shot in the early mornings, Michals explained that at this hour, “Everywhere seemed like a stage set.” William Steiger’s two contributions replicate iconic New York landmarks in Coney Island. His architecturally precise painting of the Cyclone roller coaster, and the Wonder Wheel sign, recall childhood memories, though as seen through the artist’s filter. Both Steiger’s Thrills (2016) and Evan Hecox’s Highway 68 (2017) are works on vintage papers (maps and newspapers) that house precisely cut, collaged paper to outline their main subjects, with Hecox recalling his own memories of a recent road trip through the Southwestern US.

While places remain powerful stages for our past, artists Sebastiaan Bremer, Peggy Preheim, and James Rieck focus on the influence of people. After finding the negatives of a family trip to the Alps, taken in 1972, Sebastiaan Bremer enlarged the images, painting his abstractions directly onto the surface. The resulting mixed media work, becomes dreamlike as it recalls the personal childhood of the artist. Like Bremer, Peggy Preheim’s poetic drawings pull subject matter from old photographs and other historical sources. Through the intimate medium of drawing, we connect to the artist and an overwhelming sense of nostalgia. James Rieck, on the other hand, does not replicate historical photographs, but rather incorporates stylized cues from vintage department store catalogues, culling together figures and backgrounds. In these paintings, the artist combines multiple sources, while often altering the skin colors of the predominantly white catalogue models of the fifties and sixties. First Class (2016) is a fictional scene of two woman, recalling a time when airline travel was a luxury. By replacing one of the white models of the original image, Rieck quietly recalls and reminds us of a time of racial tension and segregation- a point that continues to remain relevant.

The last group of artists in When We Were Young, shift our focus to objects of our past, both through direct incorporation as well as reproduction. Wayne White, William Wegman, and David Ellis all use vintage objects as starting points for their work. White collects vintage, commercially produced lithographs to serve as the canvas for his text-driven work. I’M HAVING A DIALOGUE WITH THE UNIVERSE AND YOU’RE JUST SITTING THERE (2016), continues White’s practice of using humor to evoke criticism. In this case, White takes on the inflated ego of the famous artist. Pulling from William Wegman’s collection of vintage postcards, both In Ramada Inn (2016) and Elvis Funnin’ (2013) begin with the postcard. From there, Wegman creates fantastical scenes which emanate and continue well beyond the edges. The results are nostalgic and familiar, while remaining surreal in composition. For David Ellis, the vintage objects are not just the inspiration but the main medium. Bird Pyramid (2016) is a continuation of the artist’s “Recollection” series, where Ellis collects and compiles record albums to create detailed, and beautiful color gradients from their spines. Lastly, realist painter Tony Curanaj’s perfectly reproduced toy fire truck, takes the exhibition back to an early childhood. Without the use of projection or tracing the artist renders the truck from a real life, studio installation into life-like perfection on canvas.

When We Were Young will open September 7 and run through October 7, 2017. The exhibition includes work from David Ellis, Duane Michals, Evan Hecox, James Rieck, Peggy Preheim, Sebastiaan Bremer, Tony Curanaj, Wayne White, William Steiger, William Wegman. There will be an opening reception Thursday, September 7, 6-8pm. Please reach out to Karyn Behnke (karyn@joshualinergallery.com) for questions or requests for images and information.

Horton Gallery is pleased to present I'm Made Of Milk, an exhibition of work by British artist Kate Groobey. In a series of paintings and video performances, Groobey explores the notion of innocence.

Her characters bake cakes and cut up slices of melon to share out. The French phrase, and title of one of Groobey's paintings, ‘Tend ton bras’ translates into English as 'reach out your arm and take'. In her painting, a young boy does just that, reaches up towards the stars. A young girl claims that she is made of milk and a group of children delight as they uncover buried treasure.

Groobey’s characterizations are humorous and truthful, challenging us all to wonder what we're made of and what it is we are in search of.

These paintings and videos are based on a series of intimate water-colors Groobey made during a summer spent with friends and family in Tuscany and the South of France. They portray an impactful moment between Groobey and each of her models.

Going on to make large-scale paintings, using big gestures and the drips and flicks of her brush, Groobey revisits the initial encounters with her models.

In the video performances Groobey dresses up, in self-made costumes, as the models in her paintings. To self-composed music, she takes the place of her subject and uses the jiggles and squats of her body to collapse the relationship between artist and model.

In this intersection of dance, music and painting Groobey is both artist and model.

She received a BFA from the Ruskin School of Drawing and Fine Art, Oxford University, Oxford, UK and a MFA in painting from the Royal College of Art, London, UK. In addition to Horton Gallery, she has had recent solo exhibitions at Ever Gold, San Francisco, CA; Redling Fine Art, Los Angeles, CA; and David Lynch’s Club Silencio, Paris, FR. Her work has been included in group exhibitions at König Galerie, Berlin, DE; Transition Gallery, London, UK; La Sira, Paris, FR, and Villa Lena Foundation, London, UK; among others. Her work has been discussed in i-D/vice, New York Arts Magazine, and Dapper Dan Magazine, among others. The artist has also been included in the publications 100 Painters of Tomorrow (2014), and the Bloomberg New Contemporaries catalog (2011).

Artemisa Gallery is pleased to announce Hidden Figures, a solo show of portrait paintings and wall sculptures by Argentine artist Julio Alan Lepez.

Working in oil paint, drawing, and collage, Lepez transforms unconventional materials to create images of fantasy surrounding the human figure. Vivid hues and heavy brush strokes define and outline each subject’s face and body in the artist’s intimate and color-saturated scenes. While traditional portraiture lies at the foundation of his practice, Lepez leaves his own traces of the brush to embody the uncertainty and spontaneity of capturing his subjects.

In Lepez’s wall sculptures, the blurring and smudging of the artist’s soft painterly brush strokes effectively juxtaposes the meticulous drawn lines of cutout board. Eye-catching and unusual in outline and form, the shapes and shadows on the wall play directly with the figures they portray to create a dynamic and soaring dialogue with the sitter and the surrounding space itself. Within each three-dimensional painting, Lepez explores the limitations of the wall itself as a background for art as the cut outs evade the limits of conventional foundation, making it nearly impossible to define and encompass each character’s entirety.

Julio Alan Lepez graduated from the National School of Arts Prilidiano Pueyrredón in 1997. He has been the subject of solo and group exhibitions internationally, including at Museo Municipal de Arte in La Plata, Argentina, Centro Cultural de España in Mexico City, Centro Cultural Recoleta in Buenos Aires, Artemisa Gallery in New York, and Rebecca Hossack Gallery in London.

Thomas Eggerer’s new paintings in Todd, the artist’s sixth solo show at Petzel, present the viewer with aerial views of street surfaces—topographical evolutions of Eggerer’s longstanding interest in public spaces.

Each square canvas features precisely choreographed fragments of resting bodies, cutting in from the margins of the painting. This temporal occupation is contrasted with a circular “lid” or “cover” and intersecting parallel diagonals. The lids carry institutional significance, pointing to municipal authority, which contrasts with the transient fragility of leisurely carnal exposure. The lids also emphasize the presence of a concealed space underneath, quintessential to New York street life.

While the aerial viewpoint allows for voyeuristic surveillance, the 90 degree rotation from the birds-eye vista to the gallery wall, generates a vertiginous perspective where gravity and weight become factors. The resulting destabilization of a fixed viewing position is further augmented by the fact that the paintings appear to gyrate around the lids, subjecting the bodies to centrifugal forces and pointing to the space beyond the margins of the canvas.

The fragmentation of the bodies has a limiting effect on the bodies’ self-determination, and yet, perhaps as a consequence, it intensifies the fetishistic charge of the exposed skin, which is rendered in great detail like all other parts of the paintings. This attention to detail appears to be a new development in Eggerer’s work, which has previously exploited tensions between line and color or the “finished” vs. the “unfinished”. Hands appear to play a particular role here; while the purpose of the body as a whole is often unclear, manual activities are rendered with exacting precision (touching, holding, pushing). These gestures and poses appear somewhat out of place in a public space. The street floor is not treated like a part of the urban arena but rather like a natural domestic habitat.

Petzel Gallery is located at 456 West 18th Street New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00 AM–6:00 PM.

The soul is a self-sealing thermoplastic, polystyrene, expanding foam, emergency blanket, raspberry pi, magic sculpt, isomalt sugar, mylar, crystal clear, digital display, LCD curtain, polycarbonate, shell.
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In the event of sculpture: An entity or group in a certain place and time are involved in a moment that could only happen to them under the circumstances.

American Medium is pleased to present Iceman Returns, a series of sculptures and wall works surrounding themes of cladding and theatrics by Andrew Ross. For his first solo exhibition with the gallery – and the first exhibition at American Medium’s Manhattan location – Ross uses geometric forms to modify the body and its devices, creating interior spaces within animated, hard-shell facades.

Using analog interpretations of digital design cornerstones, such as revolving and extrusion, Ross's forms exploit concentricity and interconnected parts. He makes passages and stages for fictitious characters, allowing his sculptures to be occupied in ways counter to how they are first perceived. These inhabitants, sculptural squatters, are energetic caricatures and anthropomorphic blobs and meshes; absorptive in their ignorance of the viewer and absorbed into each other. They suggest a distillation of conflict and event into simplified forms that perhaps only caricatures can enact; gestures of pointing and contorting, releasing energy toward each other.

Andrew Ross (b. 1989, Miami, FL) has exhibited at The Drawing Center, Artists Space Books and Talks, The James Gallery at CUNY Center for the Humanities, Signal Gallery, and The Studio Museum in Harlem. Recent solo exhibitions include Holes at False Flag, New York and Chassis at Clima Gallery, Milan. His work has been featured in Artforum, The New York Times, W Magazine, Cultured Magazine and Mousse Magazine.